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Track List
01) Hang on Me
02) Pills
03) Masseduction
04) Sugarboy
05) Los Ageless
06) Happy Birthday, Johnny
07) Savior
08) New York
09) Fear the Future
10) Young Lover
11) Dancing With a Ghost
12) Slow Disco
13) Smoking Section
01) Hang on Me
02) Pills
03) Masseduction
04) Sugarboy
05) Los Ageless
06) Happy Birthday, Johnny
07) Savior
08) New York
09) Fear the Future
10) Young Lover
11) Dancing With a Ghost
12) Slow Disco
13) Smoking Section
2:48
4:40
3:17
4:01
4:41
2:58
3:26
2:33
2:31
3:33
0:46
2:44
3:37
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2017
Pop
Enlightened
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Masseduction (stylized as MASSEDUCTION) is the fifth studio album by American musician St. Vincent. It was released on October 13, 2017, through Loma Vista Recordings. The album peaked at number 10 on the Billboard 200 becoming her first top ten album in the United States.
Release and promotion
"New York" was released as the lead single from the album on June 30, 2017. The album was announced on September 6 along with a pre-order and the release of the second single, "Los Ageless". The announcement was followed by a series of cryptic, satirical promotional clips Clark has posted to her social media. Clark hosted a press conference on Facebook Live to announce the album, which was in the style of the sarcastic earlier clips. "Pills" was released as the third single on October 10. Clark will be heading on the "Fear the Future" tour in promotion of the album, which kicks off in October.
Recording
The album was produced by Clark and Jack Antonoff at Electric Lady Studios in Manhattan, with additional recording at Rough Consumer Studio in Brooklyn, and Compound Fracture in Los Angeles. It features contributions from Doveman on piano, Kamasi Washington on saxophone, Jenny Lewis on guest vocals, and beat production from Sounwave, as well as pedal steel by Greg Leisz and Rich Hinman, and additional guitar and vocals from her uncle and aunt Tuck & Patti, respectively. Model and actress Cara Delevingne, whom Clark had dated before they split in 2016, provided back-up vocals.
Music and lyrics
Masseduction has been described as the "culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe." Clark has stated that the album focuses on themes of power, sex, drugs, sadness, imperiled relationships and death. In a press release, she stated: "every record I make has an archetype. Strange Mercy was Housewives on Pills. St. Vincent was Near-Future Cult Leader. Masseduction is different, it's pretty first person. You can't fact-check it, but if you want to know about my life, listen to this record."
Musically, the album has been characterized as "futuristic" pop, glam rock, new wave, ambient rock, electropop and "industrial-tinted techno", while also incorporating psychedelic rock, electronic rock and dream pop. It consists of guitar and piano, synths and strings, and drum beats "that punch with purpose".
User Album Review
f there’s a rap against St. Vincent, aka Annie Clark, it’s that she can be an arty, icy singer who keeps listeners at arm’s length. Her inventive songs prompt distant admiration but not necessarily deep connection. But she drops some of the emotional armor on her fifth studio album, “Masseduction”(Loma Vista), which comes off as not only one of her most ambitious works, but also her most transparent.
With co-producer Jack Antonoff (who is coming off projects with Lorde and Taylor Swift), Clark finds new levels of expressiveness as a singer, moving from vacant burned-out whispers to upper-range fragility, teasing femme fatale to sad-eyed lady in the land of the high-rises. Her guitar playing remains inventive, a throwback to the Earl Slick and Carlos Alomar guitar-that-doesn’t-always-sound-like-a-guitar tone displayed on David Bowie’s ’70s albums. Antonoff may have buffed a few of the hooks, but if this is a pop album, it’s on Clark’s own demanding terms: drama in service of vulnerability.
With “Hang On Me,” she throws open the door to an album that sounds like a trip through some of the seediest neighborhoods in her adopted hometown of New York, with a side trip to Los Angeles. In a voice that sounds like it’s on the verge of breaking down, Clark wonders, “Can I stop the aeroplane from crashing?” over strings swooning and bells ringing, as if quietly dreading the carnage to come. It arrives in the form of “Pills,” a glam-rocking ode to excess with ripping guitar; the electro-rock of the title song, which quotes Charles Mingus and Bowie and weighs the price of running with the glamor crowd (“Oh, what a bore to be adored”); and the death disco of “Sugarboy.” Things start to unravel in “Los Ageless,” a memoir to the land of a thousand dances and “the last days of the Sunset superstars.”
“Happy Birthday, Johnny” mourns one of the casualties. It’s a potentially hokey piano ballad that Clark’s narrator turns into something devastatingly personal; she points the finger at herself for leaving a family member adrift.
The sex fantasy games of “Savior” dissolve into unanswered pleas, and the album slides away from pills ’n’ thrills glitziness into deepening introspection. “New York” plays like a eulogy to a love affair or to Bowie, or perhaps both. “Fear the Future” unfolds with some of Clark’s boldest guitar playing, a big mass of chords spilling into a psychedelic midsection as the singer echoes the encroaching paranoia of another big, dark New York album from an earlier era, Talking Heads’ “Fear of Music.”
“C’mon, sir, just give me the answer,” Clark pleads. It’s a plaintive demand tucked inside a guitar maelstrom. After that, the only place to go is inward, and Clark does so memorably with a gorgeously sad string interlude and then the album’s most harrowing songs: the last waltz that is “Slow Disco” and the suicide-note “Smoking Section.” In the end, Clark’s swimming to the surface. “It’s not the end,” she repeats, even as her voice slips away.
SOURCE: http://www.chicagotribune.com/entertainment/music/sc-ent-st-vincent-masseduction-1013-story.html
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Available in:
Masseduction (stylized as MASSEDUCTION) is the fifth studio album by American musician St. Vincent. It was released on October 13, 2017, through Loma Vista Recordings. The album peaked at number 10 on the Billboard 200 becoming her first top ten album in the United States.
Release and promotion
"New York" was released as the lead single from the album on June 30, 2017. The album was announced on September 6 along with a pre-order and the release of the second single, "Los Ageless". The announcement was followed by a series of cryptic, satirical promotional clips Clark has posted to her social media. Clark hosted a press conference on Facebook Live to announce the album, which was in the style of the sarcastic earlier clips. "Pills" was released as the third single on October 10. Clark will be heading on the "Fear the Future" tour in promotion of the album, which kicks off in October.
Recording
The album was produced by Clark and Jack Antonoff at Electric Lady Studios in Manhattan, with additional recording at Rough Consumer Studio in Brooklyn, and Compound Fracture in Los Angeles. It features contributions from Doveman on piano, Kamasi Washington on saxophone, Jenny Lewis on guest vocals, and beat production from Sounwave, as well as pedal steel by Greg Leisz and Rich Hinman, and additional guitar and vocals from her uncle and aunt Tuck & Patti, respectively. Model and actress Cara Delevingne, whom Clark had dated before they split in 2016, provided back-up vocals.
Music and lyrics
Masseduction has been described as the "culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe." Clark has stated that the album focuses on themes of power, sex, drugs, sadness, imperiled relationships and death. In a press release, she stated: "every record I make has an archetype. Strange Mercy was Housewives on Pills. St. Vincent was Near-Future Cult Leader. Masseduction is different, it's pretty first person. You can't fact-check it, but if you want to know about my life, listen to this record."
Musically, the album has been characterized as "futuristic" pop, glam rock, new wave, ambient rock, electropop and "industrial-tinted techno", while also incorporating psychedelic rock, electronic rock and dream pop. It consists of guitar and piano, synths and strings, and drum beats "that punch with purpose".
User Album Review
f there’s a rap against St. Vincent, aka Annie Clark, it’s that she can be an arty, icy singer who keeps listeners at arm’s length. Her inventive songs prompt distant admiration but not necessarily deep connection. But she drops some of the emotional armor on her fifth studio album, “Masseduction”(Loma Vista), which comes off as not only one of her most ambitious works, but also her most transparent.
With co-producer Jack Antonoff (who is coming off projects with Lorde and Taylor Swift), Clark finds new levels of expressiveness as a singer, moving from vacant burned-out whispers to upper-range fragility, teasing femme fatale to sad-eyed lady in the land of the high-rises. Her guitar playing remains inventive, a throwback to the Earl Slick and Carlos Alomar guitar-that-doesn’t-always-sound-like-a-guitar tone displayed on David Bowie’s ’70s albums. Antonoff may have buffed a few of the hooks, but if this is a pop album, it’s on Clark’s own demanding terms: drama in service of vulnerability.
With “Hang On Me,” she throws open the door to an album that sounds like a trip through some of the seediest neighborhoods in her adopted hometown of New York, with a side trip to Los Angeles. In a voice that sounds like it’s on the verge of breaking down, Clark wonders, “Can I stop the aeroplane from crashing?” over strings swooning and bells ringing, as if quietly dreading the carnage to come. It arrives in the form of “Pills,” a glam-rocking ode to excess with ripping guitar; the electro-rock of the title song, which quotes Charles Mingus and Bowie and weighs the price of running with the glamor crowd (“Oh, what a bore to be adored”); and the death disco of “Sugarboy.” Things start to unravel in “Los Ageless,” a memoir to the land of a thousand dances and “the last days of the Sunset superstars.”
“Happy Birthday, Johnny” mourns one of the casualties. It’s a potentially hokey piano ballad that Clark’s narrator turns into something devastatingly personal; she points the finger at herself for leaving a family member adrift.
The sex fantasy games of “Savior” dissolve into unanswered pleas, and the album slides away from pills ’n’ thrills glitziness into deepening introspection. “New York” plays like a eulogy to a love affair or to Bowie, or perhaps both. “Fear the Future” unfolds with some of Clark’s boldest guitar playing, a big mass of chords spilling into a psychedelic midsection as the singer echoes the encroaching paranoia of another big, dark New York album from an earlier era, Talking Heads’ “Fear of Music.”
“C’mon, sir, just give me the answer,” Clark pleads. It’s a plaintive demand tucked inside a guitar maelstrom. After that, the only place to go is inward, and Clark does so memorably with a gorgeously sad string interlude and then the album’s most harrowing songs: the last waltz that is “Slow Disco” and the suicide-note “Smoking Section.” In the end, Clark’s swimming to the surface. “It’s not the end,” she repeats, even as her voice slips away.
SOURCE: http://www.chicagotribune.com/entertainment/music/sc-ent-st-vincent-masseduction-1013-story.html
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